Topic
Ten months into 2026, the core rules for a UK band playing the EU are the ones that applied in 2021. Brussels has floated longer short stays for touring artists, MPs have asked for a deal, and a youth scheme is still being negotiated, but none of it changes the 90/180-day clock, the van limits or the carnet. Here is where things stand, and a checklist built only from official guidance.
Industryvia European Commission
Avex has raised its stake in Brandon Silverstein's S10 Entertainment to 85%, trade press report, with a path to full ownership. The real story is the playbook. A Japanese company is buying a US manager's relationships to get its own acts heard abroad, and S10's clients now have a manager owned by a label, publisher and live business.
Industryvia Avex Inc.
Ditto Music surveyed 5,039 self-releasing artists in 112 countries, and 74% said they earned less than $1,000 from music last year. Putting a song out is now cheap and easy. Getting paid for it is still hard, and the people answering the survey are Ditto's own customers.
Industryvia Ditto Music
Sub-Saharan Africa's recorded music revenues grew 15.2% in 2025 to $120 million, and digital income grew faster still. But South Africa takes 78.1% of that, collecting societies across the continent took in only €90 million in 2024, and nobody publishes fraud rates for African markets. For African artists the growth is real; the plumbing that turns plays into payments is not keeping up.
Industryvia IFPI
A publishing deal decides who owns part of your song, who registers it, and for how long. Admin deals leave ownership with you for a fee. Co-pub and full publishing deals trade a share of the copyright for an advance and a team. Here is how the money splits, how long the rights stay away, and why the catalogue sales of 2026 make ownership the part to guard.
Industryvia ASCAP
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